"When [Mario] Schiano moved to Rome from Naples around 1960 he found a jazz environment of cold studio professionals and well-to-do amateurs playing Trad. He didn’t care about factional fights, joining New Orleans-style bands like the Aurelian Syncopators where his presence triggered heated arguments about “purity” of style, and where he also crossed paths with Ivan Vandor. In the mid-sixties a breath of fresh air came when many avant-garde jazz players arrived in town to play or just to enjoy Roman life: Gato Barbieri, Don Cherry, Steve Lacy, Kent Carter, Paul Bley, and Barry Altschul stayed with friends, musicians, actors, and painters. They enjoy “La dolce vita”, jam, and bring first-hand news of what’s happening in jazz on the other side of the Ocean: Ornette, the free experiments. A parallel nomadism manifests itself with young American musicians escaping the stifling atmosphere of Darmstadt's Ferienkurses and joining forces with Lacy in Rome to form MEV: Alvin Curran, Richard Teitelbaum; with a similar perspective, Franco Evangelisti creates Nuova Consonanza (see the perceptive article by Art Lange in PoD Issue 11)."
-- Francesco Martinelli, Point of Departure
I often wish more film criticism looked like this, forming categorizations in historical strokes, seeing 'schools' not as fixed ideas but as meetings & confluences of different individuals, making every turn seem potentially interesting because it crackles with all the promises of History. This is, in fact, part of what I like about Olaf Möller as well as MHVF member James Cheney.